By Jeff Rovin
A pictorial heritage of the early 40's via early 70's technological know-how fiction video clips. Describes a number of the videos, the actors who have been in them, and the issues that have been performed to accomplish the results that made sci-fi what it's. essential for any early sci-fi motion picture buff.
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Additional info for A Pictorial History of Science Fiction Films
In its juxtapositioning of old and new, country and city, mysterious talisman and modern automobile, Mag the Hag offers us a glimpse of the tensions that informed the emergence of amateur film culture in the mid-1920s. Indeed, the “magic” of the movie camera was understood to be an appealing feature of 16mm amateur film equipment when it first appeared in the 1920s: “The motion picture is a kind of magic,” one Kodak advertisement proclaimed. ” This line, an apparent allusion to Robbie Burns’s poem “To a Louse,” appeared on the masthead (and frequently elsewhere) in the organization’s Amateur Movie Makers magazine during its first year (figure 2).
But although these seem like predictable oppositions, what is striking about Mag the Hag is the way these oppositions are complicated, perhaps even undone, by the magic of the talisman and the magic of the camera. 1 In the amateur’s hands the cinema becomes a modern talisman designed for both the making up and the making over of a range of different types of desire: from the transformation of social status and sexual longing, to the amelioration of the old with the new, to a playful CINÉ-PROPHECY / 19 Figure 2.
The film referred to is likely 24 Dollar Island; Flaherty’s New York film is a negotiation of modern urban culture (the city) by a filmmaker whose interests had primarily been of the exotic, the folk, the ancient cultures. In this way, amateur ethnography is brought from the realm of traditional exploration to the amateur modern filmmaker. At its close, the interview reinforces Flaherty’s status as an amateur, at the same time linking the North American amateur movement to appreciation of his films in France (the Théâtre du Vieux-Colombier) and Germany.